Thailand kept its benchmark interest rate unchanged for the first time in 17 months as policymakers assess the

By Amlan Chakraborty NEW DELHI Virat Kohli remains the cynosure of all eyes wherever and whenever India plays

A tweet by Ozzy Osbourne showing him gaming on a Sony PlayStation VR2 has been banned for failing to mention that it was an ad. The tweet from Osbourne’s account in February read: “Did this spot with @PlayStation team. We had a lot of fun. Their new VR2 is really amazing.” The tweet included a video which began with a blue screen displaying the PlayStation logo before cutting to Osbourne in a living room taking a virtual reality headset and controllers out of a blue PlayStation box as his wife Sharon Osbourne told him that they needed to pack boxes and catch a flight to England. Osbourne replied that he wanted to play on his PlayStation and was shown swearing at dinosaurs via a VR headset and controllers before the video ended with the text: “Play has no limits,” followed by the PlayStation logo. We considered the wording, including the use of the word spot to refer to the video, was not sufficient to clearly indicate to consumers that the tweet was part of a commercial relationship between Sony and Ozzy Osbourne Advertising Standards Authority Sony, which responded to the Advertising Standards Authority (ASA) on both their and Osbourne’s behalf, said their agreement gave Osbourne’s management company final approval over the video’s script. The tech giant confirmed that Osbourne was contracted to post a tweet sharing the video as part of the agreement, with Sony specifying only that Osbourne must share the video in a way which clearly disclosed that he had worked with Sony. Addressing the tweet itself, Sony believed that the word “spot” in the text “Did this spot with the @PlayStation team” would be clearly understood by Twitter users to refer to an ad. They also believed that the placement of the wording at the beginning of the tweet meant it was sufficiently prominent for consumers to understand the commercial nature of the video before they watched it. The ASA said consumers should be made aware that a post was an ad before they engaged with it. The watchdog said: “We acknowledged the positioning of that wording in the tweet was both prominent and visible before the video started playing. “However, we considered the wording, including the use of the word spot to refer to the video, was not sufficient to clearly indicate to consumers that the tweet was part of a commercial relationship between Sony and Ozzy Osbourne and that the tweet was therefore an ad.” It added: “Because the ad did not make clear its commercial intent upfront, we considered it was not obviously identifiable as a marketing communication and concluded that it breached the Code.” It ruled that the ad must not appear again in the form complained about. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live No evidence to suggest Facebook not good for wellbeing, Oxford scientists say Harry and Meghan ring young online innovators after funding awards James Bulger’s mother condemns ‘disgusting’ AI clips on TikTok of murdered son

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On a street corner of downtown Toronto in the wee hours of the morning is where the best conversations are bound to happen. I’ve spent my whole adult life in this city walking these streets and yelling my opinions — the good, the bad, and the shut-up-your-frontal-lobe-isn’t-even-formed-yet takes. I remember fighting with a friend just steps from Scotiabank Theatre after watching The Help about how Blackness should show up onscreen (spoiler: that was not it). They argued that, sure, maybe the movie was offensive, but parts of it were true. Why shouldn’t that story be told? (Their frontal lobe wasn’t fully formed either.) Over a decade later, during this year’s Toronto International Film Festival (TIFF), I found myself on those same streets debating the very same topic, except this time, the film in question wasn’t a trope-ridden, objectionable, white savior narrative; it was a ripe satire consumed with tackling the very conversations that Black media professionals have been having for decades. In American Fiction, it’s not about whether representation matters but rather what kind matters, and to whom?